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Topic: Just What Style Does Jerry Byrd Play? |
Jack Byrd
From:
Kalamazoo, Michigan
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Posted 15 Mar 2001 6:47 am |
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Several strings exist with variations of this subject and thought a reply from a Byrd was in order. To say Jerry doesn't play Hawaiian Steel guitar in a Hawaiian style is a pretty strong indictment of his style. There are tongue-in-cheek remarks from some individuals in these discussions who seem to have set themselves up as viable critics on this subject. In their own way they say he can't play Hawaiian style. As he said to me ' I can play as Hawaiian as I want to 'what they consider Hawaiian ' but I would then be copying others and I don't do that. So I just let it roll off my back and forget it. When any of them do as much for steel guitar as I have then I will listen to what they have to say.'
I lived in Hawaii for three years (1958-61) and have been back two times in the last five years. In all of my many contacts with the local people and the professional musicians they ALWAYS spoke admiringly of Jerry and his style of play, they loved it. Since he has lived in Hawaii he has taught well over 4,000 private lessons and has six students at the present time, in an attempt to continue the Hawaiian Steel guitar tradition in their music. He singularly is credited with the resurgence of the Steel Guitar in the islands, and in the music. He further has traveled throughout the Pacific; 42 times to Japan, 2 times to Australia, once to New Zealand taking his Hawaiian style of play to these other countries at their request.
I find it very hard to believe that any of the many students he has taught when asked if whether his style was Hawaiian or not they would say that it is not. I don't think a one would say he can't play Hawaiian style.
Jerry was acknowledge by Hawaii's representative to the Congress of the United States on April 12, 1989. The citation as recorded in the Congressional Record of that date reads as follows:
PRAISING JERRY "MANU" BYRD
(Mr. AKAKA asked and was given permission to address the House for 1 minute and to revise and extend his remarks.)
Mr. AKAKA. Mr. Speaker, It Is my distinct pleasure to honor a dear friend of mine Jerry, "Manu" Byrd', during the centennial of the Hawaiian steel guitar. Jerry Byrd is a steel guitarist in the sense that Rembrandt was a painter.
In Hawaiian steel guitar circles, Jerry is known simply as The Great One. Thousands throughout the world have enjoyed his singular musical skill, which brings forth the fantasies and realities of our Island paradise: perfumes of tropical flowers, swaying palms, pounding surf, colorful rainbows, surfers, and hula maidens. More importantly, Jerry's steel strings evoke our Hawaiian spirit of aloha.
I feel privileged to join Jerry's many friends and his family in saluting him for his contribution to Hawaii. Jerry has shared his talent so unselfishly, not only with the listening public but with the many students he has taken under his tutelage.
I want to extend a big mahalo to Jerry "Manu" Byrd for all he has done for music and Hawaii.
I believe this says very nicely how the people of Hawaii feel about Jerry's playing style and what he has done for the instrument.
As Jerry has said 'we all play our personality, or should.' In the PBS program commemorating the 100 years of the Steel Guitar he further says this. 'The steel guitar is the most individual instrument in the world. You can play any style you want, whatever you are, whatever you feel you can play. You could line up 10 steel guitar players, say play the first two strings on the 5th fret and move to the 10th fret. No two will sound alike. It's that individual.'
I once asked Jerry what do you attribute your success at how you play, your style, etc. His answer surprised me and was rather simple when you think about it. 'I don't try to see how many notes I can play to a bar. I try to play as few as possible, keep it simple, but those I do play I want them to be meaningful, bring something, do the job.' I followed that up with how do you know when you are successful doing that. He said ' I know when I am coming across when the audience stops whatever they are doing ' eating, talking, laughing, whatever and their eyes are watching me, facial expressions are feedback to me, the fact I am hitting home - those of concentration, smiling, nodding and on occasion the tears in their eyes.' When you can bring this kind of joy to an audience especially in Hawaii I would think your style is just fine.
Last summer while visiting with Jerry in his home the day before he was to leave on his 42nd trip back to Japan to record a CD with some very dear friends and play at several events he received a phone call from a local representative of a magazine from Japan who wanted to fly in a writer to Honolulu in the near future to interview him for an article in the magazine. Of course he agreed. I put this here to again show that the world out there appreciates Jerry's Hawaiian style of playing and spares no cost to attain his knowledge and witness his skill in playing the instrument he has loved his whole life and done so much for.
It is good that we all don't like the same thing, this world would be a mess if we all wanted the same thing, but to define a specific style of a player as not Hawaiian when it does not meet our definition or fit into our box of just what we think Hawaiian steel playing style is, when it can be so individualistic, does a great injustice to that person. I have heard many different Hawaiian steel guitar players and I like them all and consider them all Hawaiian players but they do not all play the same style or sound the same, they play it how they feel it. And that is great. Jerry plays many different 'kinds' of music; country, western, jazz, classical, sacred, and especially Hawaiian. Hawaiian music is what drew him to the instrument, has sustained his interest in the instrument for 70 years and now in his twilight years he is spending most of his energy and time in giving the instrument back to the Hawaiians from whom he got it through the many students he has taught and is still teaching. To characterize his playing style as non Hawaiian is a great injustice to the Jerry Byrd I have known all my life. |
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C Dixon
From:
Duluth, GA USA
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Posted 15 Mar 2001 7:10 am
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Thank you Jack for your very imformative post. Means a lot.
It is interesting, just before I read your post I had just responded to another thread on "C 6thness". And I used Jerry as an example in my post.
Jerry can play true authentic Hawaiian as well, if not better, than any one who has ever played. He knows how, he has the talent and I have heard him do it.
But his playing is still C6 like NO body ever has played it. I have personally tried unsucessfully to duplicate it for over 50 yrs now. He has an awesome unigueness on C6 that garners a "flow" of beautiful passages in music, that is just NOT done by anyone I have ever heard.
I suppose the best example of what I am trying to say is, he has NEVER sounded "western swing" or C6 as played by almost 100% of pedal steel guitar players. Alhough most of the pedals on C6 are a direct result of chords Jerry gets by slanting the bar on his C6, B11th and diatonic tunings!!
One time a very very dear friend of mine, who is an awesome steel guitar player, and I were discussing Jerry and he made this comment, "Don't get me wrong, I like Jerry's playing, but it all sounds Hawaiian to me". I was utterly taken back. I NEVER thought Jerry sounded Hawaiian (unless he played a Hawaiian tune). And I still don't.
If one listens to albums like Jerry's "HI FI Guitar", I cannot conceive anyone feeling it sounds Hawaiian. Maybe so but I just don't see any semblance to it. What I do see is the most beautiful interpretation of pure melody in the most unbelievalbe way one could play it.
Take my favorite of all time by JB, "La Golendrina". To me there has NEVER been a song played that casptured the beauty of itself like Jerry's rendition. How anyone could listen to it and say it sounds Hawaiian is beyond my wildest imagination.
Yet, Jerry's Album, "Byrd of Paradise", is 1000% authentic Hawaiian IMHO.
So I have to agree with you totally Jack.
God bless Jerry Byrd,
carl |
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c c johnson
From:
killeen,tx usa * R.I.P.
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Posted 15 Mar 2001 9:00 am
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Hi Jack, I have been in touch with Jerry since 1948 and to describe his style; just say BYRD.Jerry is Hawaiian when need be, country, pop; just listen to him with Chris OConnell on I'm Confessin; What ever the song calls for Jerry does it.
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Andy Volk
From:
Boston, MA
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Posted 15 Mar 2001 11:04 am
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Jack,
I would hate to think that my comments about Jerry Byrd's playing were misconstrued. There is truly almost no one in his league for absolute and complete mastery of the non-pedal steel. He's innovated, invented and adapted more techniques than most players could hope to in three lifetimes. His playing of Hawaiian music has a unique, totally individual beauty that is unduplicated; his alone.
That said, I stand by my comments that many native Hawaiian players have a certain rhythmic feel and attack that is instantly discernable yet tough to define - at least to my ears. And that sound is different from what Jerry plays. Neither is better or worse, just different - there's room for all kinds of flowers in the garden. Many Hawiian steelers were Jazz fans - Gabby Pahinui, for instance. I don't hear that aspect in JB's music. Jerry plays his interpretation of Hawaiian style and it's beautiful. As there is no definitive standard for music, that's just fine.
So please don't misconstrue my comments - Jerry deserves all the accolades he's received for all he's done for steel guitar & the people of Hawaii. [This message was edited by Andy Volk on 15 March 2001 at 11:09 AM.] |
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Bobby Lee
From:
Cloverdale, California, USA
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Posted 15 Mar 2001 11:22 am
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| The great musicians transcend musical styles. |
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Al Marcus
From:
Cedar Springs,MI USA (deceased)
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Posted 16 Mar 2001 6:34 pm
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| Amen to that , Bobby!..............al |
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Bob Kagy
From:
Lafayette, CO USA
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Posted 16 Mar 2001 6:49 pm
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Amen Jack, Carl, b0b & Al.
Very nice posts. |
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Gene Jones
From:
Oklahoma City, OK USA, (deceased)
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Posted 17 Mar 2001 3:36 pm
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| Yes, a lot of musicians were indoctrinated during the 40's and 50's that to be respected meant "how many single string notes can you could play in a bar..and how fast".....and then later had to change their approach to playing. The proven method of, "keep it simple and close to the melody", was hard to accept for many who learned while listening to J. Murphy. www.genejones.com |
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Al Johnson
From:
Sturgeon Bay, WI USA
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Posted 18 Mar 2001 7:25 pm
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As the Late Duke Ellington would say Beyond
category...Duke Ellington was Duke Ellington
and Jerry Byrd plays like Jerry Byrd there is
only one, and he is great. I've been listening to and enjoying Jerry Byrd since he
was with Ernest Tubb and in the movie with E T. Thanks to Jerry for great listening memories, saw him in person once and he seemed like a nice fellow. Al |
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wayne yakes md
From:
denver, colorado
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Posted 20 Mar 2001 9:44 am
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Jerry Byrd is the "Master of Touch and Tone" and no Hawaiian lap steel player will ever achieve that title. As Buddy Charleton told me, "There never was and never will be another left hand like Jerry Byrd". I think that about says it.
His rendition of "Valley of the Roses" (one of my favorites) which is done in Spanish style once again shows his versatilty of interpretation of a song's Iberian meaning in a profound way as only he can do. Jerry's version of "Theme from Adventures in Paradise" magnifies his uniqueness in the
Hawaiian style of which he is a master and truly stands alone above all others. Jerry is the "standard" to which all aspire in the Hawaiian mode. His "country" style with ET has been envied and copied since the 1940's. Jerry's unforgetable haunting "ride" in the middle of Hank William's "I'm So Lonely I Could Cry" where he starts in the major then transfers to the minor of the key(not to mention his volume pedal work!), is perfect in keeping with the "blues" inherent in Hank's legendary country song. The album Jerry did (@1967) with a Japanese symphony orchestra and he later placed the steel parts demonstrates his "Pop" style with subtle appropriate Oriental undertones. Jerry's "R & B" style with Chris O'Connell(my favorite female singer EVER on the Tom Morrell CD) on "I'm Confessin' That I Love You" is so impressive that the "Great Dumplin'" (Johnny Cox) did a wonderful instrumental version of it. "If imitation is the greatest form of praise....." In short, there is NOTHING Jerry Byrd cannot do and everything he does is utter perfection.
Rarely has anyone been able to copy perfectly Jerry's touch. Neil Flanz told me that he was laying on a beach in Los Angeles with the radio on in 1958 when ET's "Half a Mind" (written by the "unknown" Roger Miller) came on and Neil said,"Jerry Byrd is now playing pedals!" It was Buddy Emmons on steel that Neil later found out. By the way, see the recent movie of this year(probably out on rental soon)with Robert de Niro and Cuba Gooding Jr."Men of Honor", whereby there is a bar scene and the song playing on the juke box IN ITS ENTIRETY is ET's "Half a Mind"(I missed some dialogue in the movie listening to Buddy's great steel work!). Listening to Bobby White on the Hank Thompson instrumental album "Waltzes"(@1958)in parts strongly resembles Jerry. Bobby Garrett with Hank Thompson did the "Blue Skirt Waltz"(@1962), and I think it is indistinguishable from Jerry Byrd. In fact in the "Fender Frets" issue in 1962, they listed the top 10 steel players and Jerry Byrd was ranked #1, Bobby Garrett #2 with the statement: "If Jerry Byrd played pedals, he would sound like Bobby Garrett". Bobby said this was one of the highest compliments ever paid him. I have a photo of Garrett and Byrd together(1995) and Byrd autographed to Garrett "Its you and me Bobby against the world". Garrett wrote to Byrd, "Just think Jerry, in another 50 years you'll be my hero for a whole century!" Garrett's 1996 version of "Steel Guitar Rag" has several "Byrd-isms" that are wonderful.
Jerry Byrd has written to me and gets very upset by rankings. Jerry said,"I am the best Jerry Byrd that ever lived. Bobby Garrett is the greatest Garrett that ever lived. Everyone is different who plays steel guitar and is the best of who they are. Don't get me started on this!" The great ones are always the most humble. Come to think of it, Oriental philosophy also states this maxim as a great attribute. Christian theology requires it. Jerry teaches us in many ways the best of things. |
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Neil Flanz
From:
Austin, Texas (deceased)
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Posted 21 Mar 2001 4:05 pm
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| Jack, I just thought I'd offer my comment over here for whatever it's worth. In addition to what I said in an earlier thread in bar chatter describing what a beautiful person that Jerry is, in my opinion to achieve the touch that he has is the epitome of perfection. What Dr. Wayne Yakes said in his thread about me laying on a Santa Monica beach many years ago and listening to Half A Mind by Ernest Tubb on a small portable radio and practically being jarred to my feet when I heard the steel and saying to myself "My God, Jerry Byrd has gone to pedals", is the absolute truth! Of course I was later to find out that it was the one and only Buddy Emmons who has obviously been greatly influenced by Jerry's touch as has every aspiring steel player in the world that has ever heard Jerry play.He is in a class all by himself as Buddy Emmons is on the pedal steel. To imply that he doesn't sound authentically Hawaiian when he plays Hawaiian music is in my humble opinion ridiculous.His velvet smooth touch is so easily recognizable as for one to know that it is Jerry after hearing the first two or three bars of any song that he plays on. Heavenly is the best word I know of to describe his playing. [This message was edited by Neil Flanz on 21 March 2001 at 04:07 PM.] |
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Alan Brookes
From:
Brummy living in Southern California
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Posted 25 Jun 2014 10:12 am
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| How is Jack doing nowadays? |
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Ray Montee
From:
Portland, Oregon (deceased)
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Posted 26 Jun 2014 11:12 am Hi there ALAN!
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I haven't heard from Jack in a mighty long time. I miss his informative and factual letters.
Jerry, played 'Jerry's style' and it is quite unique that it fits in with virtually every kind of music he played. Some of the lesser known players were rooted in their particular style that it was more or less locked-in to a specific style.
Jerry's playing with Patti Page, Rosemary Clooney,
Guy Mitchell and countless others was ALWAYS seamless and beautiful to hear. His backup offered as much melody as some of his solo's. |
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Alan Brookes
From:
Brummy living in Southern California
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Doug Beaumier
From:
Northampton, MA
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Clyde Mattocks
From:
Kinston, North Carolina, USA
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Posted 26 Jun 2014 8:13 pm
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The steeler on Marty's "Singing the Blues" was Jim Farmer and it was indeed a Fender with pedals added.
_________________
LeGrande II, Nash. 112, Fender Twin Tone Master, Session 400, Harlow Dobro, R.Q.Jones Dobro |
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Alan Brookes
From:
Brummy living in Southern California
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Posted 28 Jun 2014 10:47 am
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...ooops.  |
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Eddie Cunningham
From:
Massachusetts, USA
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Posted 28 Jun 2014 5:22 pm Whos Style ??
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| Roy Wiggins made a comment back in the non-pedal days and it still rings true ; he said ," all steel players either play like Roy Wiggins or Don Helms or like Jerry Byrd " !! Those were the three styles in his opinion ! olde geeze - AKA Eddie "C" [/url] |
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Ray Montee
From:
Portland, Oregon (deceased)
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Posted 28 Jun 2014 6:39 pm something I've noticed...............
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I've seen Jerry play 'live' and also have watched his instructional videos. I examine the PBS channel programs featuring Jerry very closely.
On the olde Red Foley and Ernest Tubb records as well as the many other artists he played with.....
it seems that he plays a very 'active' vibrato. I enjoy the sound but just have not observed him doing it like it sounds.
Is this my imagination? |
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Doug Beaumier
From:
Northampton, MA
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Alan Brookes
From:
Brummy living in Southern California
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Philip Bender
From:
Palmetto FL USA (deceased)
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Posted 30 Jun 2014 4:22 am Jb
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Aloha all, In a word, HEAVENLY!
PHIL |
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